The Centre for Peacemaking and Community Development (CPCD), a British NGO working in Chechnya, presents:

DAIMOHK—CHECHEN CHILDREN'S DANCE ENSEMBLE

Bringing an inspirational message of joy and hope out of a war zone.

4-5 July Barbican Plymouth

8-10 July Riverside Studios London

(full tour details at bottom)

From the bombed-out city of Grozny where they live in unremitting conditions of war, 33 children are touring Europe with their breathtaking ancient and dynamic dances, performing to packed houses and standing ovations. Ramzan Akhmadov, former star of the Chechen National Ballet, directs these exceptional children in the traditional dances of the Caucasus region, from graceful, kaleidoscopic formations to energising acrobatics, somersaults and sword-throwing. The children perform to the mesmerizing accompaniment of traditional drums and balalaikas. The dynamic performances are the most remarkable message to come out of a war zone.

Dispersed by war to border camps, outlying villages and the basement shelters of Grozny, CPCD has helped to reunite the dancers for Daimohk's 2003 European tour. The children, cultural ambassadors of Chechnya, astonish audiences with the vitality and sheer professionalism of their dancing and musical talents. In the context of war, cultural affirmation is for the children both a defence and a release. Director Ramzan Akhmadov explains that Daimohk allows the children who form the ensemble to express their emotion through music and dance: 'through dance we explode, we let ourselves go'.

CPCD, who offer support to victims of conflict in the North Caucasus through a variety of projects, have partnered Daimohk since 2000. Chris Hunter, General Director of CPCD is available for interview, together with Daimohk's Director Ramzan Akhmadov and CPCD colleague Camilla Carr, who travelled to Chechnya in 1997 to set up a centre for traumatised children. Captured and held hostage in Grozny for 14 months, Camilla drew on her memories of young dancers from Grozny during her captivity. 'The memory of the dignity and courage of the dancing children of Chechnya helped me survive', explains Camilla.

Jane Birkin, of Je t'aime fame, was so inspired that within two days of first seeing Daimohk she organized a sell-out performance at the Théâtre du Soleil in Paris, and continues to support and promote the group.

posted 03 July 2003 12:30 PM ------------------------------------------------- In San Francisco, there's a children's dance group that performs dances from the Caucasus region (Georgia), directed by an emigre Georgian dancer. Even that group does some impressive dancing, so the dancing in Daimohk must be amazing. -------------------------------------------------

Some of the little boys in the SF group were real performers. Years ago, I saw a program on TV called "Portrait of the Soviet Union," which had a segment on the Georgian state folk ensemble. Some of the kids in that were almost as flashy as the adults. I wish I could see the group from Chechnya.

I saw Daimohk tonight and it was a very impressive evening of dance with extraordinary skill and great energy on display from the children and choreography of a higher standard than is usual at folklorique performances. At the end, the Company received a standing ovation from the entire audience , a much more unusual occurrence in the UK than it is in the US.

The wonderful Daimohk are at The Royal Opera House (Linbury Theatre) tonight (19th July). Don't know about ticket availability, but if you have the chance, do go. It might just be the most enjoyable and resonant dance presentation you see this year.

Daimohk - 19th July 2004 at the Linbury Studio Theatre. Daimohk started this UK tour by winning a first prize at the Llangollen International Eisteddfod, no meant achievement given the very high standards required for this competition. Last Monday, they demonstrated their prize-winning abilities in an evening of breathtaking dance. The dance part of the programme consisted of 12 dances based on traditional Chechen themes, choreographed by Aiza Akhmadova and strongly influenced by the techinical expertise of classical dance. The well-chosen programme alternated slower dances with fast dynamic ones, which were mostly danced by the boys. Set against a plain black backdrop, the costumes were wonderfully colourful and contributed greatly to the visual pleasure of the performance. The music was played on an accordian, drum and traditional stringed instruments and was partiularly effective when accompanying the faster dances. The boys strutted their stuff admirably - and what stuff it was! They strode around the stage, tossing their heads, shouting and often building up to a maelstrom of whirling, leaping to their knees, spinning and intricate footwork, - sometimes on their toes. First this was performed by the older boys and then the much younger ones joined them, spinning and leaping with as much panache as the others. The Shepherd's dance in contrast provided some knockabout humour, but all performed to the same high standard.

The girls' dances were slower and elegant, performed with fast, small steps unseen beneath flowing skirts so that the impression was one of gliding. This was accompanied by graceful hand movements. Often the visual appeal was in the shapes formed by the dancers coming together and moving as one. Once again when the little girls joined the older ones they showed that they could dance with equal dignity and poise. In Syuli Khelkhar,however, all the girls showed their ability to dance with fast, intricate footwork in this lively Dagestani dance, the excitement being increased by their accompanying screams.

As if they hadn't displayed enough talent with their dancing, the programme also included 2 instrumental pieces and 2 songs. The first of the instrumental pieces was a group of about 6 playing the traditional stringed instruments and a drummer and accordionist. The second was a group of about 8 drummers, who not only played their own drums, but also each others' and then tossed and spun the drums, - so they can juggle as well! The songs were sung by Aminat Akhmadova who had a lovely, clear, soprano voice.

When it came to the finale, it was difficult to imagine what Daimohk could possibly do to provide a fitting climax to such a thrilling evening's entertainment. However, they managed to take it all a step further, with the boys not only leaping and spinning, but at the same time sword fighting. The clash of the swords sent sparks flying! When the girls joined them the pace was slowed as the stage was filled with all the dancers, in co-ordinating costumes dancing a proud, stately dance. Unsurprisingly Daimohk received a standing ovation.

The speeches at the end reminded us that the children and young people from this company come from war-torn Grozny and their lives are filled with uncertainty and deprivation. We needed reminding after watching such an energetic, high quality and joyful performance. It was a very special show.

Your description brings back my own experience of Daimohk, Patricia. I am disappointed to have missed their visit, but your review has ensured this year's UK performances of this extraordinary company will not be forgotten.

As you say, no surprise that they won first prize at the Eisteddford - if any group had beaten Daimohk, I might have changed my plans and come back to see such a wonder.

Daimohk continue to be heavily dependent on overseas support to continue performing to these high standards. Just think about the elaborate costumes and growing children....

Here is the link to order the superb video "Danz Grodzny Danz", T-shirts etc or to make a donation:

This week's Times Ed (the leading weekly for all things educational in the UK) has a long article about Daimohk's residence in a school on the border of England and Wales. Only the the first part is available on their website, but it's still worth a quick look.

Steps from a war zone By Elaine Williams for The Times Educational Supplement

The girl silhouetted in the sports hall doorway is a will-o’-the-wisp. No more than eight years old, her tiny frame is mercurial in its fluidity as she dances a breathtaking arabesque in the streaming sunlight. But there is strength and assurance in this young body.

She turns to look at the sober adolescents lined up behind her, their faces grave with concentration as they try to follow her quicksilver movements.

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